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LIBILA.RY OF THE
COOPER-HEWITT MUSEUM OF DESIGN
■ SMITHSONIAN INSTITUTION •
of Interior Designers
THE NEW YORK DISTRICT CHAPTER
OF INTERIOR DESIGNERS
THE COOPER UNION MUSEUM
ACQUISITION FUND ^mm,^
\ JUL 2 01983
THURSDAY, MAY 16, 1968 1 CENTRAL PARK ZOO
AMERICAN INSTITUTE OF INTERIOR DESIGNERS
NEW YORK DISTRICT CHAPTER
ROMAN HEILMAN, PRESIDENT
JOHN S. ELMO, CHAIRMAN OF THE BOARD
EVELYN COLEMAN, FIRST VICE-PRESIDENT
LLOYD BELL, SECOND VICE-PRESIDENT
THORNDIKE WILLIAMS, SECRETARY
HAROLD RAMBUSCH, TREASURER
THOMAS A. WOODS, ASST, SECRETARY-TREASURER
BOARD OF GOVERNORS
ELISABETH C. DRAPER
JAMES G. HENDRIX
ANDREW J. KRECICKI
RUTH K. LYNFORD
PAUL H. KRAUSS, PRESIDENT-RETIRED
SUSAN E. MADIGAN, EXECUTIVE DIRECTOR
zoo PARTY COMMITTEE
EVERETT BROWN, PAID, BENEFIT CHAIRMAN
MR. LLOYD BELL
MISS MARY DUNN, PAID
MR. STEPHEN GASPERECZ
MR. ROMAN HEILMAN
MRS. RUTH K. LYNPORD
MRS. ELLEN L. McCLUSKEY, PAID
MR. EDMUND MOTYKA
MR. DAREN PIERCE, PAID
MR. JAMES AMSTER, PAID
MR. DAVID BARRETT
MR. DAVID EUGENE BELL
MRS. ROGER E. BRUNSCHWIG
MR. YALE R. BURGE
MISS HARRIET BURKET
MRS. EVELYN COLEMAN
MISS INEZ CROOM, PAID
MRS. ELISABETH C. DRAPER
MR. JOHN S. ELMO
MR. DAVID ESKELL-BRIGGS
MRS. AUDRE FIBER
MISS ARLENE FRANCIS
COUNTESS ELSIE GOZZI
MR. MICHAEL GREER
MRS. DOROTHY B. HAMMERSTEIN
MRS. TRUMAN PARKER HANDY
MRS. LEE HARWOOD
MRS. WALTER JEFFORDS, JR.
MISS MELANIE KAHANE, PAID
MR. PAUL H. KRAUSS
MR. AND MRS. TOM LEE
MR. AND MRS. CHARLES LEHMAN
MRS. FRANCIS HENRY LENYGON
MR. J. FREDERIC LOHMAN
MR. JEROME I. MANASHAW
MR. EDMUND MOTYKA
MISS MARGARET D. NELSON
MR. WILLIAM PAHLMANN, PAID
MR. HAROLD W. RAMBUSCH
MRS. JANET LUCE REYNOLDS
MISS RUTH L. STRAUSS
MR. L RAYMOND TOUCHER, PAID
MRS. CORNELIA VAN SICLEN
MR. JOHN B. WISNER, PAID
JUNIOR COMMITTEE CHAIRMEN
MISS MAUREEN McCLUSKEY
MISS SHARON McCLUSKEY
MR. HENRY FRANCIS du PONT
HONORARY PATRONS AND PATRONESSES
MRS. LYNDON BAINES JOHNSON
THE HONORABLE NELSON A. ROCKEFELLER & MRS. ROCKEFELLER
THE HONORABLE JOHN V. LINDSAY & MRS. LINDSAY
THE HONORABLE JACOB K. JAViTS & MRS. JAVITS
Patrons and Patronesses
MR. AND MRS. WALTER BEINECKE, JR.
MR, AND MRS. THOMAS S. BUECHNER
MRS. OWEN R. CHEATHAM
MR. RENE d'HARNONCOURT '
MR. ALBERT I. EDELMAN
MR. HARRY D. M. GRIER
MR. AND MRS. AUGUST HECKSCHER
MR. AND MRS. A. A. HOUGHTON, JR.
MR. AND MRS. THOMAS P. F. HOVING
DR. RICHARD HOWLAND
MR. PHILIP C. JOHNSON
MR. AND MRS. WM. E. KATZENBACH
DR. AND MRS. GRAYSON L. KIRK
MR. AND MRS. S. DILLON RIPLEY, II
MR. CHRISTIAN ROHLFING
MRS. HOWARD J. SACHS
MR. HARVEY SMITH
MRS. T. REED VREELAND
MRS. VANDERBILT WEBB
Cooper Union, which was founded in 1859 by Peter
Cooper as a private tuition-free college of art and engi-
neering, houses not only the Great Hall in which Lincoln
gave an address which played a vital role in his rise to
national greatness, but also the Museum of Decorative
Arts, one of the finest in the world. It was founded in 1897
by two of Mr. Cooper's granddaughters who assembled
the original collection. Among the many items of historical
significance are textiles, furniture, drawings, ceramics,
lace and embroidery and metalwork. Its library is re-
nowned among art historians, decorators and designers
and is used extensively for research.
The Museum will be moving to a new location on upper
Fifth Avenue opposite Central Park under its new Smith-
sonian Institution aegis. The Museum's Decorative Arts
Collection will be housed there in greatly expanded quar-
ters facilitating its use by students and designers as a
research center of the decorative arts. It is the privilege
of the New York District Chapter of the American Institute
of Interior Designers to sponsor this benefit for Cooper
Union Museum's Acquisition Fund to enable the Museum
to purchase new treasures.
an assemblage of birds
and beasties from the Cooper
Union Museum Collection
ELEPHANT MOUNTED AS CANDLEHOLDER
The rarity of elephants in 18th-century Europe made these animals the object of great curiosity and
appealing subjects for artisans of the period. The charming, surprisingly svelte mini-pachyderm (6%"
high X 43/4" long) shown here, balancing on a handsomely wrought French fire-gilt bronze mounting,
is one of a pair of covered candleholders. This elephant is made of hard-paste porcelain, the secret of
which had been sought for centuries and finally achieved when a German alchemist, Johann Friedrich
Bottger discovered how to produce the highly prized material. The Meissen factory established in 1710
gave the objects made there its name. A fitting accessory for the desl< or table of a connoisseur, the
piece was a gift to Cooper Union Ivluseum by Joseph F. McCrindle in memory of Edith M. Feder.
DOG IN FLOWERED DRESSING GOWN, LACE CAP
Dressing up a dog is not a 20th-century prerogative. Before tine turn of the century
elaborate, even flirtatiously caparisoned dogs were preserved for posterity in pottery
and faience. An amusing example of at-home attire for a well-dressed Fido is shown
in tin-enameled earthenware by Emile Gall6. The protruding glass eyes and bared
lower teeth give fair warning that despite the blue wrap-around flowered dressing
gown with black lace cuffs and matching tied-under-the-chin lace cap no remarks
will be tolerated. Galle who was well known for his glass and furniture designs also
produced many fantastic birds and animals in faience in his workshop at Nancy be-
tween 1870 and 1880. The fine clay body and tasteful coloring is a characteristic of
Galle's work. An anonymous gift to the Museum. It is ^2V'^" high, 9" long.
"LE GROS POISSON NOIR"— PICASSO
Since his first visit in 1 946 to the ceramics studio of Georges and Suzanne Ramie
in Vallauris in southern France, Picasso has been an enthusiastic ceramacist, both
modeling and decorating all types of pieces from vases to casseroles and plates.
His designs always spring from the shape of the object giving the finished prod-
uct a totality which is as alive, amusing and imaginative as the maitre himself. For
this piece, named appropriately enough "Le Gros Poisson Noir," Picasso used a
stock shape of red clay and worked in the incised slip technique producing an apt
motif for a large, round dish. The reverse side, as decorative as the front, has a
pattern of whimsical graffito faces, his signature and the date. The dish, a gift of
Mr, and Mrs. Daniel Saidenberg, is MVa" in diameter.
CAT LICKING HIND PAW
Looking more like tlie pampered pet of a Queen of the Nile than an Oriental
tabby, this charming ceramic cat is a fine example of the workmanship of Japa-
nese craftsmen in the late 19th century. Probably made for export to America,
when Western interest in Japanese culture and artifacts was highly accelerated
after Commodore Perry's missions to Japan in 1853-54 opened up that country to
western trade, the cat is made of hard, closely grained pottery with a finely
crackled glaze in tan and brown with gold streakings which relates the piece to
Kyoto kilns in a style reminiscent of Satsuma ware. The lively character with which
Japanese craftsmen can endow animals, as well as the finely detailed enameling
at which the Japanese are so adept, are beautifully illustrated in this piece given
to Cooper Union Museum by J. Lionberger Davis. The height 3V2" x AVi" long.
PEACOCK GARDEN WALLPAPER BY WALTER CRANE
The essence of the art nouveau taste is illustrated in this wallpaper "The Peacock Garden"
designed by Walter Crane in 1889 and produced by Jeffrey & Co. It Illustrates the decorative use of
the flamboyant bird as a design motif, a symbol of beauty since ancient times. Crane had used the
peacock In his Illustrations for children's books and in earlier wallpaper designs. Crane's skillful devel-
opment of the serpentine line and curvilinear movement served as a source of inspiration for designers
of the period who were working in the style. The soothing and restful combination of colors — mellowed
blues, greens and browns In "The Peacock Garden"— were much admired and copied by Crane's
contemporaries. His controlled use of the undulating line made him a leader of an ordered approach to
the art nouveau style. This sample given by Grace Lincoln Temple, is 31%" long by 21%" wide.
PITCHER IN SHAPE OF PARROT
Many beguiling bird and animal forms of glazed pottery were made in tfie small ceramic workshops of
central Europe in the second half of the 18th and early part of the 19th centuries. Strongly influenced
by more sophisticated pieces from the great manufacturers in Strasbourg, Delft, Sceaux and Hochst,
tureens and other covered vessels were often inspired by Chinese ceramics. The pretty Polly pitcher
here, one of a pair, has a spout and mouth concealed by a removable upper half of the bird's head.
The generous handle is formed by the branch on which the bird perches. The strong colors, yellows,
blues, greens and browns in the glaze, and forthright quality of the coarse clay body, is further empha-
sized by Polly's bold and roving eye. This piece, circa late 18th century, is believed to be a product of
one of the many provincial workshops of Moravia, an area now part of Czechoslovakia. It is a bequest of
Georgiana L. McClellan. It is lOVa" high; BVe" long.
MING DYNASTY HERALDIC DEVICE
The exquisite 15th-century Ming Dynasty badge of honor, originally from the famous
collection of Miquel y Badia, shows snowy white egrets poised with spread wings
against a golden sl<y. Attenuated fleecy cloud bands have subtle red, blue and yellow
shadows. Mandarin squares, employing various paired birds as emblems, were used as
heraldic devices for Chinese civil officials of certain rank while military officials wore
squares with animal designs. The right to wear robes with these insignia was bestowed
by the Emperor. One authority suggests that the birds were intended to symbolize the
literary elegance of the wearer; animals represented the fierce courage of the warrior.
The square shown here is woven in silk and gold in a tapestry technique known in
China as "k'o-ssu." It was a gift to the Museum from J. Pierpont Morgan.
A WROUGHT IRON DOOR KNOCKER IN THE SHAPE OF A DOG
A wrought iron door knocker from Spain in the shape of an elongated, rather sullen looking dog with
pointed ears and mouth open indicates that this suspicious guardian of his master's domain is on the
alert for friend or foe. A heavily incised collar reflects the decorations on the dog's back and chest.
Arc-like incisions down his back might well be raised hackles. Early adornments for the doors of great
houses continue to be considered decorative accents on doors. Antique knockers such as this one
are prized for today's architecture. Excellent reproductions and original designs are also available in
many designs and materials. The dog knocker was purchased in memory of Jacques Seligmann for the
Museum Collection. It is 6" high x 8%" long.
As decorative as it was practical, a hand-carved IStti-century
mangling board, its well-worn handle in the form of a taut, elon-
gated horse is adorned with flowers and small, prancing steeds
on each shoulder. The board itself is carved, in relief depicting
the coat of arms of the city of Amsterdam, a leaping stag, birds,
flowering plants and an appropriate inscription, "NET GEVOVWE
1ST SIERAET VAN LONGE VROWE" which can be translated -
"Neat folding is an ornament of a young woman" — surely an
inspiration to any bride. Unlike most northern European wooden
articles for home use, Dutch pieces were not decorated with hand
painting. Dark oak was much favored for the rather elaborate hand
carving. Pieces such as this wooden mangle made stunning wall
decorations when not in use and were effective contrasts to the
copper and pewter utensils hung on the whitened plaster walls
of Dutch interiors. Given to the Museum by Mrs. A. Murray
Young. The mangle is 231/2" xeVs".
BIRD-SHAPED VESSEL WITH STIRRUP SPOUT
Animal and vegetable life as well as human representations provided inspiration for the characteristic pottery of
the Chlmu civilization, a pre-Colombian culture that flourished on the northern coast of Peru from about 1200
A.D. until shortly before 1470 A.D. Actually a revival from the monochrome ware of the earlier Mochica culture,
the vessels were shaped in sections on molds from which several Impressions could be made. Spouts were luted
to the body then refined into the main part of the vessel by smoothing and detailing the surface. The toucan-like
beak, upthrust square tail and rounded wings of this splendid example accentuate the ovoid quality of the vessel.
In addition to pottery, the Chimu culture left superlative examples of metalwork, textiles and featherwork. Pur-
chased in memory of Charles W. Gould. It is 974 " high; 8%" long.
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NTER OR DESIGN
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American Institute of Interior Designers
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OUR SPECIAL THANKS FOR
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COOPER UNION MUSEUM STAFF
"BROADWAY MUSICAL STAR"
We break our molds. Don't look to American Needlecrafts
for a long line of look-alikes. Custom creation is
remembering that good taste comes in assorted preferences,
To satisfy them we dare to think fresh,
Caring makes us daring.
A/ew york: D & D Building, 979 Third Avenue (or 59tli Street entrance), New York, N.Y. 10022/ (212) 679-1922
/.OS Angeles: Albert Parvin & Co., Robertson Plaza, 120 North Robertson Blvd., Los Angeles, California 90048/ (213) 652-5760
BEDSPREADS/ DRAPERIES/FABRICS/COMFORTERS/ BLANKET COVERS
DECORATIVE PILLOWS/CUT VELVETS/WINDOW TREATMENTS
American Needlecrafts Inc., member of Bonnie Industries/ Bonnie Looms/ Bonnie Slipcover / Bonnie Pillow/ Bonnie Brass
KODEL® polyester fiberfill used exclusively
I C I _/M